→ January 9, 2011
→ By

A Mercy.

Toni Morrison’s most recent novel, A Mercy, is extremely short, somewhere between novel and novella, and feels as wispy as a short story with both scant character development and a frenetic jumping backward and forward in time and across multiple narrators. And Morrison’s use of an apparently invented English dialect made a slow book even harder to read, leading me to the unfortunate conclusion that, as much as I loved her books Beloved and Song of Solomon (both among my 101 favorite novels), she hasn’t produced another novel that I truly enjoyed.

A Mercy is primarily about the young Angolan slave Florens, whose mother effectively gives her up to save her from potential abuse at the hands of her current owner, only to have Florens find new trouble with her next owner, the farmer and eventual trader Jacob Vaark, when she meets the unnamed free black blacksmith and falls into a torrid affair with him. She finds herself scorned by the main slave on the property, Lina, herself once used and rejected by a man; ignored by the distant, space-cadet slave named Sorrow, herself pregnant ny an unknown father; and loved then rebuffed by Jacob’s wife (and, early in the book, widow) Rebekka, who survives a bout of smallpox only to become cold and robotic after adopting the views of a Calvinist sect.

When Morrison is good, she’s superb, with long sagas that illuminate African-American history through broad metaphors and heavy use of symbolism, right down to peculiar character names like the legendary Milkman Dead of Song of Solomon. Those metaphors take time to develop over the course of many chapters and episodes, but A Mercy is so brief – when you fold up all of the narratives, very little time passes in the book – that there’s virtually no development of metaphor or character, with the only significant change affecting Rebekkah, who moves from one extreme (compassionate, freethinking, mostly independent-minded housewife-farmer) to another after losing her husband and nearly losing her own life.

White folk generally don’t come off well in Morrison’s books – when slavery is a recurrent theme, it’s hard to paint us Caucasians as anything but the enemy – but in A Mercy, the primary villain is not white skin but the Y chromosome. Man is faithless and violent and a serial user, using the various women in the book for sex and labor and little else. There is no love between man and woman in this book; the only love is that of a mother for her child, and even that goes awry more often than not. I have no inherent objection to a book with the theme of the oppression of women by men throughout the history of civilization, but to a book that attempts to tell that story without giving me a male character who exists in as many as two dimensions.

Morrison’s two magnum opi – Beloved is $9 at that amazon link above, and I doubt you could find a better novel for under $10 new right now – are among the towering achievements not just in women’s literature or African-American literature, but in literature, period, the sort of complex, emotional works that speak to multiple fundamental aspects of our existence with poetic prose, layered meanings, and narrative greed. Jazz and Sula hinted at that greatness, but in general I’ve found the rest of Morrison’s bibliography to fall sadly short. Perhaps those two great works were all that Morrison had in her. It’s more than most authors could produce in a lifetime.

Next up: So I’m a bit behind here – just tore through Kazuo Ishiguro’s marvelous debut novel A Pale View of Hills inside of 24 hours, and am already knee-deep in Benjamin Wallace’s nonfiction thriller The Billionaire’s Vinegar: The Mystery of the World’s Most Expensive Bottle of Wine.

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→ January 4, 2011
→ By

Tinkers and The Optimist’s Daughter.

Paul Harding’s Tinkers and Eudora Welty’s The Optimist’s Daughter are both short, Pulitzer Prize-winning novels of grief and troubled family history, told from different perspectives and set in wildly different scenes. I wouldn’t say I enjoyed either of them, although in a direct comparison I’d take Welty’s folksy Southern prose over Harding’s more ponderous New England style.

Tinkers (still on sale for $5.98 at the moment) tells the story from inside the head of its protagonist as he lies on his death bed, running through his thoughts during the final hours of his life, thoughts that run to his father and his father’s father, both of whom came to earlier, more tragic ends. There’s a running theme of clocks, with wordy, dull passages from an old manual on clock manufacture and repair, but the relevance of those sections was completely lost on me. The book earned a laudatory cover quote from Marilynne Robinson, one of the great masters of American prose today, but I didn’t see Harding coming near to the standard she set with her Pulitzer Prize winner, Gilead in prose or story, as tragic as it was. The one passage that stood out was the description of the grandfather’s descent into dementia as a physical disappearance, that he slowly faded out of sight, something that would have been the basis for an outstanding short story but was an afterthought of a few pages in this work.

The Optimist’s Daughter begins with the title character, Laurel, leaving Chicago to be at her father’s side as he heads in for what should be a routine operation on a diseased eye, but something goes awry during his recovery and he dies, leaving Laurel back in her old hometown with her overgrown-child stepmother and the circle of friends Laurel left when she moved to Chicago. The stepmother, Fay, is extraordinarily selfish and immature and her presence on the pages is shrill and infuriating, as she’s just a foil for Laurel’s journey toward greater self-awareness. Laurel, meanwhile, has first to sit through the funeral and the visits of old friends who rehash her father’s life, at times puncturing her gilded memories of her father and her late mother and their picture-perfect marriage that was anything but. She then finds herself alone in the house for several days before Fay’s return, ultimately looking through some of her father’s things and old papers to get an even greater understanding of her own family heritage, eventually experiencing a catharsis over a butcher-block bread board her own late husband had made as a gift for her mother but which Fay has defaced through her own ignorance.

If anything, The Optimist’s Daughter is too short, as no character but Laurel has any depth, and her path through the house seems so light on detail that it was hard to see how she was deriving any insight or solace from much of what she saw or learned. It was an easy read, with Southern prose that reminded me somewhat of Toni Morrison despite the difference in race between the authors and characters, but felt insubstantial at the end.

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→ December 23, 2010
→ By

Turn, Magic Wheel.

Today’s chat transcript is up. No chat next week between the holidays.

—

“Would a woman like Effie Callingham, a fine woman like her, would she fall in love with a plain bounder?”
“Why not?” said Dennis with a shrug. “When did women ever fight over a Galahad?”

Dawn Powell has, in the last twelve months, become my favorite female American novelist, a writer whose books consistently deliver unusual and interesting characters, featuring Manhattan in its literary golden age, written with a sardonic wit male writers would be hard-pressed to match. She is the Queen of Snark, more than happy to turn her acerbic eye on her own social scene, and in Turn, Magic Wheel, she is positively savage.

Drawing its title from “The Sorceress,” a bucolic poem by Theocritus that includes the repeated line “Turn, magic wheel, draw homeward him I love,” Turn, Magic Wheel covers a group of writers, wannabe writers, publishers, and hangers-on in New York around the time that Dennis Orphen, a fictional writer who made a cameo appearance in The Wicked Pavilion, has written a fictionalized biography of his friend, Effie Callingham, long separated from her famous, Hemingway-like husband Andy Callingham, now presumed in Europe with the woman for whom he left Effie. The book is days from publication and Effie is just learning that it’s about her, too thinly disguised to fool anyone, which will put her at the center of a storm of publicity.

In addition to the phonies and schemers are the lovers, including Dennis’ married lover Corinne, whose husband, Phil, is the most oblivious cuckold imaginable, while Corinne herself is unaware she’s just a physical thing for Dennis, who comes closest to actual affection for Effie. Meanwhile, Effie is pulled to the hospital when Andy’s second wife – not that he ever divorced the first – turns up in New York with terminal cancer, having left Andy (before she knew she was ill) because he took up with a Swedish chorus girl.

Powell inserts herself more into this book than the four other novels I’ve read, through the Orphen character and through her sendup of New York publishers, including the fatuous publisher Mactweed and his ambitious associate Johnson, always fearing for his position while he tries to gauge the direction of the literary wind. Orphen is the anti-romantic chronicler of his New York life, but had to fill in some missing gaps in Effie’s history for his novel, only to find himself confronted with the real-life analogues to his fictional characters and settings:

He shouldn’t have come in here, anyway, he thought, for there was in his novel no role for Dennis Orphen; he had no business following his heroine brazenly through her own secret story. Wells wouldn’t do such a thing. Proust wouldn’t have. No decent author would step brashly, boldly into his own book.

Step he does, of course, often leaving him dissembling about his identity and connection to Effie to avoid detection as the parodist of his hosts, but also to chase Effie when she abandons him (never for long) over some slight … like turning her life into a satirical novel without asking her first.

Turn, Magic Wheel rivals her best work, A Time to Be Born, for its cynical view of love. But it’s inarguable that love can be born and die as a living organism, beyond the control of its owners, and for Powell the writer, the end of love means an honest exploration of emotional pain. When Effie hears Andy’s second wife, slightly delirious from the cancer, echo as her own Effie’s wish that she had borne Andy a son so she would still have something of him, Powell writes:

There are words that cannot be borne, suggestions so burning with anguish and despair that no heart can endure them, so Effie, her lover stolen, her dream of a son now stolen, got to her feet and motioning, speechless, that she was leaving, found her way out of the intolerable room.

I’d still suggest that anyone who has yet to read any Dawn Powell novels begin with A Time to Be Born, which is a lock for the next Klaw 100, a wicked satire that functions more completely as a novel with real narrative greed and a protagonist you can actually support (even if she’s not completely innocent herself). Turn, Magic Wheel might be too biting for some readers – although I suppose if you’re here you’re not opposed to heavy use of snark – and doesn’t have as strong of a central character, with the city perhaps the real star of the book. It is, however, more evidence of the greatness of Dawn Powell, one of the most under-read authors I’ve ever encountered.

Next up: I finished Paul Harding’s Pulitzer Prize-winning Tinkers (just $5.98 right now, although I should warn you I didn’t love the book) on the train yesterday, and started Truman Capote’s novella Breakfast at Tiffany’s.

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→ December 15, 2010
→ By

The Little Sister.

I’m back at mental_floss today with an article about the designing of the game Dominion, based on an email exchange I had with designer Donald X. Vaccarino.

—

“Do you drink, Mr. Marlowe?”
“Well, now that you mention it–”
“I don’t think I’d care to employ a detective that uses liquor in any form. I don’t even approve of tobacco.”
“Would it be all right if I peeled an orange?”

Raymond Chandler’s Philip Marlowe isn’t just hard-boiled – he’s dry, sarcastic, self-effacing, and mercurial, making him one of the most compelling protagonists I’ve found in any novel in any genre. Consigning Chander’s novels to the detective-fiction bin does him a great disservice, as his greatness is in his mastery of the language; not only is the prose itself readable and rich with metaphor, but it becomes the tool by which Chandler creates well-rounded characters through a handful of seemingly effortless lines.

I understand that The Big Sleep is considered Chandler’s best work, and it is phenomenal … but there’s little to no difference between that and Farewell, My Lovely, or the work I just finished over the weekend, The Little Sister. They’re all superb, all following the basic Chandler template of putting Marlowe in a situation where the line between solving the case and saving his life is blurry.

In The Little Sister the titular character – quoted above – shows up in Marlowe’s office, asking the gumshoe to help find her older brother, who has disappeared in Bay City not long after leaving his family in Manhattan, Kansas. Marlowe takes the case against his better judgment (S.O.P. for him), even though he believes the girl is holding back information. With a modest amount of investigating, Marlowe ends up in the middle of a blackmail scheme, a dope ring, and a lot of questionable identities – something Chandler creates in his usual economical way, with just a handful of new characters outside of a few corpses.

I picked the wrong time to read The Little Sister by starting it on day one of the winter meetings, which left me very little time to actually read the book until the meetings ended on Thursday – frustrating when it’s a book you never want to put down in the first place. I found it moved more quickly than The Big Sleep, but the plot was a little less complex – it was relatively easy to figure out what most of the characters were up to, and I say that as someone who almost never figures things out in books – so the question of which is the better book is one of personal taste. (It’s possible that The Big Sleep enjoys its status at the top of Chandler’s canon because of its film adaptation, directed by Howard Hawks with Humphrey Bogart as Marlowe.) No matter where you start, though, if you haven’t given Chandler at least one shot, I can’t recommend his work highly enough.

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→ December 14, 2010
→ By

The U.S.A. Trilogy.

My Cliff Lee analysis from last night is up for Insiders, as is a piece from earlier on Monday on Scott Downs, Brendan Ryan, and Ryan Theriot, featuring a TOOTBLAN reference.

–

John Dos Passos’ U.S.A. trilogy – The 42nd Parallel, 1919, and The Big Money – is considered a landmark in American fiction, ranking 68th on the Novel 100, 23rd on the Modern Library 100, and 55th on the Brit-lit-skewed Guardian 100. Leading literary lights from Jean-Paul Sartre to Norman Mailer have praised Dos Passos’ writing in U.S.A. and the influence the work had in bringing modernism to the American novel. Taken in sum, this series of interconnected stories presents a panoramic view of the United States from the start of the Great War to the end of the Roaring 20s, where the main character is the scene and setting rather than any individual in the book. It’s not an easy read – more on that in a moment – but it is an important read if you read as a student rather than just for pleasure. (Not that there’s anything wrong with reading just for pleasure, of course.)

(Aside: The Novel 100 is back in print after several years out of it. The book, by literature professor Daniel Burt, ranks the 100 greatest novels ever written with an essay on each, and features a bonus, unranked list of the “second 100” after those. It’s been a great reading list for me, and I enjoy Burt’s analyses and comments on each book’s influence, even if I don’t always agree with his selections.)

Each book in the trilogy includes lengthy chapters following a dozen or so characters whose lives intertwine and whose paths cross with major historical figures, such as the young idealist who ends up working publicity on the campaign to save Sacco and Vanzetti. These chapters, heavy on descriptive prose, are bookended by two types of mini-chapters, the Newsreel and “The Camera Eye.” The former is a list of clipped fragments from newspaper and magazine articles of the time, anchoring you to a specific year or month while also setting up some of the emotional framework for the chapter to follow; the latter is a somewhat indecipherable stream-of-consciousness, worm’s-eye view of society that I found myself skimming because it gave me bad memories of struggling through Ulysses last winter. Dos Passos also inserts short, stylized biographies of important Americans of the time period, from Henry Ford to Woodrow Wilson to Frederick Taylor to now-forgotten names like dancer Isadora Duncan and labor activist Joe Hill, written with an opinionated voice that also seeks to inform.

Dos Passos also based large chunks of the books on his own experiences in World War I as part of the volunteer ambulance corps in Paris – a role that seems to have required a lot more drinking and carousing than actual ambulance-driving, but one that also seems to have fueled the book’s derogatory portraits of upper-class American twits in Europe, chasing money or skirts or good times while there was a war going on around them.

What I didn’t like about U.S.A. was the lack of a central story, or even set of stories. The existential nature of the trilogy means characters wink in and out of the book and Dos Passos gives a lot of time to mundane matters without investing the reader at all in anyone’s fate or happiness – because, I presume, that wasn’t his point. Dos Passos set out to provide a slice of life, and I’m not sure any American writer has done it better – but it makes for a more academic read than a leisurely one, a trilogy you might pick up to help you better follow the transition in American literature from the 1920s to the 1940s, but not something you’re going to grab to get you through your next long plane ride.

My other regret about U.S.A. is that Dos Passos didn’t use more dialogue, because he was pretty sharp with it and could have given more depth to his characters just by having them speak more often, such as in this banter from 1919 regarding the League of Nations:

“It’s not the name you give things, it’s who’s getting theirs underneath that counts,” said Robbins.
“That’s a very cynical remark,” said the California woman. “This isn’t any time to be cynical.”
“This is a time,” said Robbins, “when if we weren’t cynical we’d shoot ourselves.”

Baseball does come up a few times in the book, as one character is a serious fan (right around the time of the Black Sox scandal, after which baseball earns scant mention – you’d think Babe Ruth would show up in some Newsreels, right?) while the section in The Big Money on Frederick Taylor claims that

At Exeter he was head of his class and captain of the ballteam, the first man to pitch overhand. (When umpires complained that overhand pitching wasn’t in the rules of the game, he answered that it got results.)

And if you’re into food, U.S.A. introduced me to “smearcase,” which can refer to a sort of farmer’s or cottage cheese among the Pennsylvania Dutch, but which in the Baltimore area refers to something more akin to cheesecake. (The name comes from the German Schmierkäse, meaning smear-cheese.)

Next up: I’ve finished Raymond Chandler’s The Little Sister and am most of the way through Dawn Powell’s Turn, Magic Wheel. Both authors are among my favorite American writers, Chandler for his phenomenal prose, Powell for her sardonic wit.

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→ October 31, 2010
→ By

Bridge of Sighs.

I started Richard Russo’s Bridge of Sighs ready to joke in my writeup that, in book reviews, “ambitious” is merely a euphemism for “long.” I’ve read the five novels that precede this one on Russo’s bibliography, including the amazing, Pulitzer Prize-winning Empire Falls, and while I think his books are smart, funny, and deep, I did not consider them “ambitious.” Bridge of Sighs, as you have probably guessed by now, is a work of great ambition, a sprawling modern epic with multiple foci, exploring themes of love, betrayal, mortality, meaning, and hate across more than fifty years in a small, dying town in upstate New York.

That town, Thomaston, is the birthplace of the two men at the center of the book, narrator Lou C. (“Lucy,” a nickname he never wanted or liked) Lynch and his on-and-off childhood friend Bobby Marconi. Shifting among three narratives, Russo tells their stories, weaving them together and tearing them apart, using Lucy’s own memoir-in-progress for the history of Lucy, Bobby, and their incredibly different families; jumping to the third person for the present-day perspective on Lucy’s strained marriage to his high school sweetheart, the almost too-perfect Sara; and Bobby, now a world-renowned painter living in Europe and contemplating the nearing end of his career and his life while he fights an undetermined health issue.

Russo eschews the easy plot device of having everything look perfect on the surface, only to shock the reader by showing how imperfect everything is; he makes it clear from the start that Lucy and Bobby are both damaged people, and lets the gradual revelations of major events from their childhoods provide the surprises, tossing in a little narrative greed as he goes. You don’t actually find out what happened between Bobby and his father until roughly 90% of the way through the book, but you can start to create and fill in an outline just by watching the evolution of their relationship. Lucy presents himself at the start as a married father and successful local businessman, but how successful and how happy are questions that open up as the story develops. Complicating his history and tying the two estranged friends together is Sara, who came from a broken home of her own, adopted the Lynches as a surrogate family as she dated Lucy, but found herself drawn to the raw, emotional Bobby when he reappears for their senior year of high school.

The contrast between the safe, steady affection between Sara and Lucy and the seething rage that emanates from Bobby is a central theme for Russo, who never seems to favor the measured (or bottled up) Lynch style over the open, dangerous emotions of Bobby:

It was amazing, when you thought about it, how effortlessly hate slipped into the space reserved for love and vice versa, as if these two things, identical in size and shape, had been made compatible by design. How satisfying a substitute each was for the other.

But rather than mire the story in a love triangle, or a tragic romance, Russo folds that into the comfortable ground of the yearnings of kids in a small, failing industrial town – Thomaston’s main industry, a tannery, slowly heads for extinction all while polluting the river and raising the town’s cancer rates – for something more than the hamlet can offer them. In Bridge, however, Russo moves those sentiments around; sometimes it’s the kids racing to get out of Dodge, but as often it’s their parents hoping their children leave for something better, all while they try to figure out a way to survive financially in a local economy that keeps shrinking. Lucy’s father, a hopeless optimist, loses his milkman job to modernization, only to buy a corner market as A&P locates the town’s first supermarket out by the highway. That corner market becomes the central hub of action as the kids go through junior high and high school – taking the place of the diner that lies at the heart of most Russo novels – but the work the Lynches put into it, and the role it ends up playing in their lives, symbolizes the work required to keep a marriage of two seemingly incompatible people together, even in unfavorable circumstances.

Another theme, perhaps coming from Russo’s own advancing age, is one of regret even for a life lived well – a “road not taken” question that Bobby and Sara in particular end up facing, although Lucy has his own questions about what might have been and even his mother and uncle (the roguish Dec, a classic Russo character) end up in the act. Sara’s parents seemed very two-dimensional, but I thought they might represent Russo’s unflattering takes on two extreme life paths – her angry, faithless, emotionally distant father on one side, and her unsatisfiable, self-serving, emotionally stunted mother on the other – that, I suppose, help explain why Sara is so grounded, so clear, and so able (mostly) to be happy with where she is and what she has.

If I have a criticism of Bridge of Sighs, it’s that Russo’s trademark humor is so much less in evidence. If Straight Man is his funniest work, this is probably his most serious. The gags are often little verbal jabs, rather than the slapstick and broad farce that characterizes his earlier novels:

After all, it wasn’t just people in big cities who had big dreams. Wasn’t her father himself a perfect example? Though he considered himself an urbanite, he’d grown up, as her mother had delighted in reminding him back when they were still living as husband and wife, on Staten Fucking Island.

I laughed, but hey, if you haven’t been caught in traffic on the Staten Island Expressway, that might not be quite so funny.

I’m barely doing the serious side of this book justice, however; it’s deeper and more literary than even Empire Falls, even if it’s not quite as exhilarating a read. The prose is classic Russo, as are the many full-fleshed characters, the setting, and the very realistic dramas that drive the book. If it’s a little less witty than normal, he has at least made up for it through his ambition.

Next up: I finished Dave Jamieson’s Mint Condition: How Baseball Cards Became an American Obsession, which I would certainly recommend to those of you who collected cards in your youths or are simply interested in baseball history; and have just barely begun Abdelrahman (or Abdul Rahman or Abd el-Rahman) Munif’s Cities of Salt­, which appears on the Novel 100 list at #71.

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→ October 24, 2010
→ By

A Good Scent from a Strange Mountain.

Robert Olen Butler won the 1993 Pulitzer Prize for his short story collection A Good Scent from a Strange Mountain, yet another entry in the canon of literature about the Vietnam War. Butler’s conceit is a new one, revolving around Vietnamese immigrants in the greater New Orleans area, transplants from one delta to another, dealing with the culture gap as well as the weight of history, of a country left behind, a war lost, and often a family divided by death or distance. These depictions show great empathy for his subjects, but rarely veer into the sentimental, instead giving greater depth and color to a population that is marginalized here after a war that, despite hundreds of novels and stories on the subject, is still in search of its great, defining literary work. I’m not sure that this is it, though.

The strongest stories blended the experiences of their central Vietnamese characters into American settings, giving readers familiar ground underneath the unfamiliar emotions or cultural norms of their subjects. “The Trip Back” takes a common subject, the declining health and memory loss of an aged family member, and grafts it on to a Vietnamese couple struggling emotionally in their new country as they receive a visit from that family member, not realizing his mental state until after he gets off the plane. (Nice job by the Vietnamese branch of the family, failing to inform the American branch that the man was senile.)

One exception, the title story, is the best of the collection as it follows the conversation between a dying Vietnamese man and the ghost of Ho Chi Minh, whose hands are coated with sugar from his time in Escoffier’s kitchen before his own radicalization. Ho admits to his dying friend that he is not at peace in the afterlife, and the friend realizes it’s because Ho used confectioner’s sugar – which contains cornstarch or another anti-caking agent – instead of granulated sugar. Is the sugar standing in for the standard “blood on one’s hands” metaphor, with the wrong sugar the betrayal of the Marxist philosophy underlying the revolution, leading to Ho’s restlessness beyond the grave? Is that the dying man’s own conscience, questioning his onetime friend’s radicalization while he himself chose Buddhism and a life of peace? (In reality, the Communist leader probably did not work for the famous French chef, or, at least, there is no evidence that he did, but the symbolism depends on that connnection.) Meanwhile, the man overhears his family here in America admit to knowledge of and perhaps involvement in the murder of a local Vietnamese man who wrote an editorial urging the U.S. to admit that the war was over and begin normalizing relations with Vietnam, in direct contrast to his own non-violent philosophy.
­
Two of the stories flopped because of fully predictable endings – “Letters from my Father,” which repeats an urban legend that most of you have probably heard before; and “Love,” told by a cuckolded husband who used to protect his wife (and manhood) in Vietnam by telling U.S. forces that Viet Cong fighters were hiding where his wife’s would-be suitors lived.

The one longer story in the book, “The American Couple,” was for me the weakest entry in the collection. Told from the perspective of a Vietnamese woman, Vinh, a sharp observer whose skills help her win a trip for two to Mexico on an unnamed game show that is obviously “Let’s Make a Deal,” and whose husband fought for South Vietnam. They strike up a slightly awkward, arm’s-length friendship at the resort with an American couple, one that gradually drifts into a childish battle between the two men, both of whom are dealing with the memories of a war in which they participated but never truly fought. Telling the story from Vinh’s perspective robs us of any insight into the behavior of the two men – the entire episode seemed juvenile to me – while she is almost robotic in her relaying of the action.

Next up: Richard Russo’s Bridge of Sighs, the follow-up to his Pulitzer Prize-winning novel Empire Falls, which fell at #33 on the last version of my own top 100.

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→ October 9, 2010
→ By

If You Follow Me.

Before I get to the book, I wanted to suggest again that you check out “Where I’m Going,” the new single from Cut Copy, available for free on their website. I may have sold it short by calling it “straight-up early Britpop;” after listening it a few more times, including once with the volume turned up (inadvertently) too high, I realized that there are layers of sound beyond that surface candy, even beyond the Who-like keyboard bridge in the middle of the track. At a cost of zero, it’s worth every penny.

–

I received a review copy of Malena Watrous’ debut novel If You Follow Me in the spring, and I think it speaks to how deep my book queue is that I just got around to it last week after finally abandoning the leaden Night Train to Lisbon after about 130 pages. Watrous’ novel takes the standard fish-out-of-water plot and layers a story of personal drama and growth on top of it while achieving the unusual feat of tying up the minor plot threads while leaving the macro issues open.

The narrator, Marina, has come to Japan as an English teacher with her girlfriend, Carolyn, whom she met in a bereavement group about a year and a half before the novel starts when her father took his own life. (Carolyn’s mother died of cancer about eight years before that.) Marina isn’t so much following Carolyn as running from her unresolved grief and anger, but Watrous never allows that darkness to choke the life out of the novel, allowing other characters to come to the fore and even slipping in some light humor.

While Watrous works the fish-out-of-water angle for humor, particularly with Marina’s struggles to understand their small town’s rules for disposing of garbage (gomi), she uses it more to introduce a cast of unusual characters, some eccentric, but most with very real problems. Marina’s supervisor, Hiro, has a strange love of karaoke, communicates with Marina primarily through letters, and is thoroughly depressed by his job. Keiko is ignored by her useless husband and struggles to manage her two sons, one suicidal and another socially maladjusted. Haruki, the only boy in the school’s “secretarial” track, has just returned to school after bullying led him to shut himself in his room for three years, and the boys who bully him have, of course, their own reasons for their behavior. The array of well-drawn characters gives the book a richness that wouldn’t normally be present in this type of story, which usually has the protagonist/narrator as the only normal person and the major focus of the book, with the locals serving as comic relief or simply foils for the main character. Marina also serves as her own sort of comic relief, from her trouble with the gomi rules to her misadventures in driving (in a car with doors that don’t open) to her use of some rather risque materials to get the tough-kids class to pay attention to her English lessons, and the self-effacing voice Watrous gave her alter ego works extremely well through those episodes.

Beyond the mature characterization, I loved Watrous’ infusion of grief and loneliness into the novel without turning it into a bleak, depressing, or hopeless work. Marina keeps her grief at arm’s length – she can’t dispose of it any more than she can dispose of her intermittently-operating refrigerator – and learns something about her grief and herself from watching her charges and neighbors in the small town of Shika … but not everything, as Watrous doesn’t tie it all up in a neat package at the book’s end. Marina makes headway, opens herself up to new adventures, and finds some closure with her father, but at the end it’s clear that she’s still a work in progress. That realistic touch elevated the book to something more than a trivial read for me.

Three disorganized thoughts on If You Follow Me:

  • The cover isn’t doing the book any favors – celery green with a healthy dose of pink. It’s not chick lit, but it sure seems like they’re marketing it that way. I don’t view a book about a female main character as de facto chick lit, and the themes Watrous explores are universal across gender and sexual orientation.
  • If you’re thinking a book starring a lesbian is going to have some hot girl-on-girl action, you’ll probably be disappointed. That said, I thought the few brief mentions of sex seemed a little extraneous to the plot – more placeholders to get from one scene to the next (start sex scene, drop curtain) than actual plot drivers. I do give Watrous credit for a delicate hand, since I think 90% of the sex scenes I come across are painful to read.
  • Watrous studied at the Iowa Writers’ Workshop under, among others, Marilynne Robinson, author of three novels, including the Pulitzer Prize-winner Gilead and her debut novel Housekeeping, #58 on the last iteration of Klaw 100. And Watrous’ prose did remind me in many ways of Robinson’s – not quite as beautiful, as Robinson appears to have invented the English language and merely tolerates the rest of us playing with it, but gentle and sensitive in ways that Robinson’s is as well.

Next up: Toni Morrison’s Tar Baby.

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→ August 24, 2010
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Unaccustomed Earth.

Jhumpa Lahiri was born in London, and her writing revolves around Bengali families in the United States who retain at least some of their non-American identity, but her writing is more American than most fiction by contemporary authors born in this country. Lahiri’s stories are richly textured, written in intelligent yet easy prose, showcasing her incredible skill at encapsulating human emotions through plot events large and small, and her overarching theme of Bengalis feeling adrift in a foreign country and culture seems central to the American experience regardless of the characters’ nation of origin. Her first published work, the short story collection Interpreter of Maladies, won the Pulitzer Prize for Fiction, and if anything, her second story collection, 2008’s Unaccustomed Earth is even better, more assured with stronger characterization.

The title story, which leads off the collection, is one of the most subtle stories in the book, dealing with Ruma, an Indian mother married to a non-Indian man, whose widowed father comes to visit her in her new home in Seattle. She is still grieving from the sudden loss of her mother, and now must deal with the question of whether to invite her father to stay with her, per Indian (or perhaps Bengali) custom, even though she has never had a close relationship with him and believes her husband is less than thrilled with the idea of having his father-in-law living in their spacious house. Ruma’s father, meanwhile, has begun a quiet affair – so quiet it barely merits the term – with another Bengali woman, also widowed, and does not wish to reveal it to his daughter or to give up his peripatetic new lifestyle. Lahiri allows both characters to narrate the story, creating two distinct voices, moving the story along by magnifying tiny events in their lives during the father’s visit and establishment of a new relationship with his grandson, surpassing anything he ever developed with Ruma. The story’s conclusion is extremely un-Hollywood, yet more effective for its realism.

Unaccustomed Earth closes with a three-part novella titled “Hema and Kaushik,” which returns to the twin perspectives of the collection’s title story by tracking two young Bengalis through three stages of their lives – a brief period in their teen years when Hema’s family housed Kaushik’s on the latter’s return from India to Massachusetts; Kaushik’s difficulty in adjusting to a major change in his family situation while he’s in college; and an unlikely reunion between the two in Rome with the two in their late 30s. The novella is more about Kaushik (the boy) than Hema, with the latter serving more as a lens to examine Kaushik’s character, and how a few major events in his life shape his choices in adulthood, including his inability to grieve and his difficulties in forming lasting relationships with women.

As much as I may praise “Hema and Kaushik,” it wasn’t the star of this particular show. I don’t read many short stories because I often find it hard to get emotionally invested in a character or a plot in ten or twenty thousand words, but “Only Goodness” was easily the most affecting short story I’ve ever read, for personal reasons. The story opens by telling us that “It was Sudha who’d introduced Rahul to alcohol,” a clue to the guilt the sister would later carry for her brother’s alcoholism, even though the addiction and downward spiral was almost certainly inevitable. An uncle with whom I always felt close was a lifelong alcoholic, something I didn’t know until late in my teens, and his periods of recovery never lasted and were punctuated by disappointment and frustration on the part of the rest of his immediate family. I remember too well the phone calls I’d get from him at odd hours in the late 1990s, about some get-rich-quick scheme he’d found or a penny stock on which he wanted my opinion, and the fact that I was not equipped to handle him in those states, or even fully aware of what the calls truly signified. Eventually, I drifted out of contact with him, talking maybe once or twice a year, hearing of him through my parents, until the day in spring training of 2005 when I got another call that he had taken his own life the night before. Rahul lives to see the end of “Only Goodness,” but Lahiri paints an accurate portrait of the devastation a grown child’s alcohol problem can cause and the false hopes and crushing disappointments it can cause, while still giving the reader enough insight into Rahul to feel some empathy, until the climactic event that caps the story.

“A Choice of Accommodation” chronicles the gradual decline of a “mixed” marriage (between an Indian man and a non-Indian woman) by watching the couple over the course of a single day and night at someone else’s wedding; I’ve criticized many writers here for badly-written sex scenes that feel like they were written by teenaged boys, but Lahiri wrote one of the few I’ve ever read that didn’t make me cringe – perhaps it simply needed a woman’s pen – although as the conclusion to this story the device felt a little hackneyed. “Nobody’s Business” is actually told from the perspective of the shy American roommate of an Indian woman on whom he probably has a small crush; he finds out her mysterious boyfriend is having an affair and is left trying to decide whether and how to tell her about it. The story itself works, with a technologically quaint solution, but the constant parade of suitors that the girl, Sang, faces – all men seeking an arranged marriage through her parents – provided a level of exasperating comic relief. The weakest story for me – still above-average if you’re looking for grades – was “Heaven-Hell,” told by an Indian girl about her mother who, trapped in a loveless arranged marriage, develops a crush on a Bengali graduate student who rooms with the family for several months, and even thatt story features a classic Lahiri oh-by-the-way twist at its end.

Interpreter of Maladies was brilliant and worthy of the recognition it received, but I can’t say I was as moved or involved in its stories as I was in those of Unaccustomed Earth, and her ability to create tension in short stories that revolve around emotions rather than action is astounding, reminiscent of the short stories of F. Scott Fitzgerald and the novels of Marilynne Robinson, two of the best American writers of the last hundred years. And I think it’s fitting that someone of a non-traditional background should emerge as one of the brightest voices in 21st century American literature, one who speaks to the experiences of an entirely new wave of immigrants who spend much of their lives living in one country while trying to maintain the cultures and traditions of others.

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Before Unaccustomed Earth, I read John Dos Passos’ The 42nd Parallel, the first part of his U.S.A. trilogy. However, it’s not a complete, standalone novel; it weaves together the stories of five people in the U.S. in the late 1910s, but their paths just start to cross near the book’s end and nothing is resolved enough to merit a real review. I’ll write them up when I finish all three parts, which appear as a single entry on a few of the greatest-books lists I follow.

Next up: Dawn Powell’s final novel, The Golden Spur.

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→ August 4, 2010
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Scout, Atticus, & Boo.

New post on the draft blog for Insiders: Cape Cod League top 30 prospects for 2010. Also, no Klawchat this week due to the start of the Area Code Games.

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I’m a big fan of To Kill a Mockingbird, placing it at #4 on the Klaw 100, but unlike most readers I came to the book relatively late in life, reading the book for the first (and only, for now) time at the age of 29. It was never assigned in school – when I think back on the garbage we had to read for some English classes in lieu of important classics of American and British literature, I wonder what the hell my parents paid property taxes for – and I actually wasn’t an avid reader of fiction between graduation from college and the turn of the century*. When I shifted from non-fiction – and just not reading that many books to begin with – back over to novels, I decided to fill in the gaps in my cultural literacy by reading as many of those “name” books as possible. They didn’t all measure up to their reputations, but Mockingbird exceeded them, and was one of a handful of books that accelerated the renewal of my interest in reading non-comic fiction.

*The book that turned me back on to fiction, putting me on a decade-long tear that saw me read roughly 400 novels across ten years? Harry Potter and the Sorceror’s Stone, of course.

Documentary writer and producer Mary Murphy seems to feel much the same about the only literary output of one Nelle Harper Lee and assembled a book called Scout, Atticus, and Boo: A Celebration of Fifty Years of To Kill a Mockingbird that comprises interviews with 26 writers, celebrities, a politican, and a few people connected with Lee herself on the book, its legacy and the enduring mystery of Lee’s silence, both in her lack of output and her four-decade-plus refusal to give interviews. (Needless to say, she’s not one of the 26.)

Richard Russo, one of my favorite writers, had for me the most interesting essay because of how he talks about the art of writing, not just in how Mockingbird influenced him, but in how a technical analysis of the book misses its greatness – “Great books are not flawless books” – and what aspect of the book hit him the hardest. James McBride, an African-American novelist and musician, offers a passionate defense of the book as great literature, one of the questions Murphy must have posted to every interview subject, while also drawing parallels to John Coltrane when answering the question of why Lee might have chosen to stop writing after one book.

The most fun interview of all of them is Alice Lee, Nelle Harper’s older sister who, at the time of the book’s writing, was still working in her law office every day at the age of 98. With the author herself unwilling to give interviews – she reportedly was upset that one or more interviewers misquoted her in the 1960s and put words or even thoughts into her mouth, but has also indicated that she believes the author should be more or less invisible behind her works – Alice gives some insight as to Harper Lee’s childhood and what aspects of the book are grounded in real people or places.

I was surprised to find that one of the most enjoyable interviews in the book was Oprah Winfrey, whose responses may be the most personal, from her identification with Scout to an encounter with Gregory Peck (“he will always be Atticus to me”) to her plan to persuade Harper Lee to come on the show (fail). Her quote from her lunch with Lee is too priceless for me to repeat here, but it’s quite telling about the author’s attitude towards the celebrity she has so consistently declined. If you want to bounce around Scout, Atticus, & Boo, Andrew Young, James Patterson (really), and Anna Quindlen also offered interesting or insightful comments on the novel.

The introduction, written by Murphy, includes heavy quoting of the 26 essays that follow, and I found that reading it first scooped a number of the most interesting quotes from the interviews; if you pick this book up, skip straight to the first interview, with the actress who played Scout in the film version. If you haven’t read To Kill a Mockingbird, you should do so, and then watch the film, and then read this book if you enjoyed those two works as much as I did.

Next up: John Derbyshire’s Prime Obsession: Bernhard Riemann and the Greatest Unsolved Problem in Mathematics, about the still-unproven (or disproven) hypothesis that bears Riemann’s name.

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